As such, the “technological promise to capture time” opened the cinema to confront all sorts of social and natural limits, from “the denial of the radical finitude of the human body” to the “access to other temporalities.” In collusion with capitalism’s ideological fetish for progress and infinite growth, the emergence of cinema was accompanied with stories and fables that would introduce and legitimize “the recognizable tropes of orientalism, racism, and imperialism essential to the nineteenth-century colonialist imperative to conquer other times, other spaces.”
According to award winning author Juha Hurme: ”Everything is in constant flux. Individuals rush from the cradle to the grave, the land raises, water opens new routes, flora and fauna change, human shapes environment, societies change, states form and change, languages and faiths change information takes over spaces, consciousness changes, fashion changes”
byArturo Delgado Pereira
I consider documentary fieldwork and filming as a space and time in between. By in between, I mean the combination of certain characteristics that make the space and time of documentary fieldwork both part of everyday life and at the same time removed from it. Before a documentary film becomes representation (something about the world) it is an event (something that happens in the world) In other words, before a documentary film becomes a product that can travel around the screens, it is a creative and social process rooted in the place and time where it happens. Documentary filming is a lived time as well as an imagined, speculative and desired one.